In The art that made me, artists discuss works in the Art Gallery of NSW collection that either inspire, influence or simply delight them. This selection by Paul Ryan first appeared in Look – the Gallery’s members magazine.

‘Some of the most interesting and powerful art being made right now is by young urban Indigenous artists like Tony Albert, Vincent Namatjira, Danie Mellor and Daniel Boyd,’ says Thirroul-based artist Paul Ryan. ‘All these artists explore ideas of colonisation and its repercussions.

‘An important aspect of my own art practice is painting about notions of colonisation,’ says Ryan, who is a finalist in both the 2019 Archibald and Sulman Prizes. ‘I strongly believe it is imperative both Indigenous and non-Indigenous artists explore this subject.’

Daniel Boyd Untitled
In his earlier work, Daniel Boyd employed a bright palette, with witty reinterpretations of famous paintings of colonial ‘heroes’. More recently he has employed a very limited palette of whites, greys and black. He also employs a dot-painting technique, which we understand as a reference to what might be considered a more traditional mode of Indigenous art. Having said that, the techniques are the least interesting part of this work. Based on a found photograph of Pentecost Island in Vanuatu (home to Boyd’s great, great paternal grandfather), we see a group of people emerging from the dark, overgrown jungle into a light-filled clearing. There is no obvious narrative, but I am left with a feeling of mystery and deep sadness. It is stunningly beautiful.

Eugene von Guerard
Milford Sound, New Zealand
I was born in Auckland and lived there until I was eight. I’ve been back a few times since and on one of those trips I walked the Milford Track. This landscape is undeniably one of the most spectacular places on the planet. Von Guerard is known for painting sublime and highly romanticised depictions of the places he visited. He would have been awestruck when he first laid eyes on this place. Everyone is. Whenever I visit the Gallery I always turn right at the front door for a quick visit to this painting.

Another favourite von Guerard is housed in the Wollongong Art Gallery close to my home. Cabbage tree forest, American Creek 1867 depicts the remnants of rainforest, with the Illawarra escarpment in the background. This work has greatly influenced the way I paint this landscape. The ancient majesty of the natural world, no longer pristine, altered, damaged, fragile but still beautiful. I see this work and my landscape paintings as a metaphor for the damage done, not only to the forest, but also to Australia’s first inhabitants, who were far more sophisticated custodians of the forest and country as a whole.

Del Kathryn Barton come of things
Standing in front of this painting is overwhelming. Like many of Del’s major pieces there is a lot going on. The work is both raw and refined. I find it interesting as a male viewer to see into the inner world of a strong and assured female mind. There is an overt sexual power which may be daunting to the squeamish and timid man, but which I revel in. There are, sadly, still men who are not comfortable with the idea of a powerful and assertive woman. We see this in the pathetic backlash to the #MeToo movement. This painting also shows the artist’s deep love and connection to the natural world. Birds, snakes, mythical creatures and plants are intertwined in a writhing, breathing tableau. In this world, nature is not a passive player in the relationship with humanity, but an equal and inextricable force. The painting is both enlightening and unknowable. Bravo!

Peter Booth Painting
I painted Peter for the Archibald Prize in 2008. As he is notoriously media shy, I was surprised when he agreed to sit for me. He is a quiet and gentle man, not what you might expect after viewing a work such as this. Like many of his works from around this time we are invited into a hellish world of strange creatures and soulless human figures. These works appear to well up from a disturbed unconscious. More recent Booth figures are less disturbing but still unknowable. I once asked him what he does with his failed paintings. Does he paint over them? He told me it’s never a problem. He sticks with each work until it’s resolved.